DOCSLIB.ORG

American Canvas: an Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Canvas: an Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC DOCUMENT RESUME ED 422 253 SO 029 161 AUTHOR Larson, Gary 0. TITLE American Canvas: An Arts Legacy for Our Communities. INSTITUTION National Endowment for the Arts, Washington, DC. PUB DATE 1997-00-00 NOTE 192p. AVAILABLE FROM National Endowment for the Arts, 1100 Pennsylvania Avenue, NW, Washington, DC, 20506-0001; telephone: 202-682-5400. PUB TYPE Reports Descriptive (141) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Aesthetics; *Art; Art Education; *Community Involvement; *Community Role; *Community Support; Cultural Background; *Cultural Education; *Fine Arts; Humanities ABSTRACT This report results from regional forums across the country to assess the current state of nonprofit arts in the United States. The report describes a cautionary tale about this nation's cultural legacy, the economic and social conditions surrounding the nonprofit arts, compartmentalization of the arts in community life, the place of the arts in education, and the opportunities and risks presented by new technologies. The report also offers challenges for individuals and organizations to take future action to sustain and preserve the nonprofit arts in their own communities. Chapters of the book include: (1) "Improving the Climate for Culture"; (2) "Transmitting Our Cultural Legacy"; (3) "The Evolving Cultural Landscape"; (4) "Americans and the Arts"; (5)"Culture and Community"; (6) "Arts and Education"; (7) "The Arts and Telecommunications"; (8) "Seeking New Solutions"; (9) "The Challenge to Act"; and (10)"Calls to Action." Two appendices conclude the volume: (1) "American Canvas Forums" and (2) "American Canvas National Committee & Steering 'I'ommittee." (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** ,- Ai)'Ili terafe t, --1,--/C---:,-"41- !tibg1:011..cLtisst iov n ai ,thl nvd bi Jilt .::, ti-Ni rgrarc tILt Ail.I .....-4. 11101 ...a....... )IV In oc -----,. ,totk ticr"---,rryti tir II 1 1 l t 11141 A )0 -.v.) c 01 thys i ur iitI ,1, 4,1,01,141',7t: i. toCLIL U S DEPARTMENT OF EDUCATION Office of Educational Research and tmprovement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) /Thisdocument has been reproduced as received from the person or organization originating it 0 Minor changes have been made to improve reproduction quality Points of view or opinions stated in this document do not necessarily represent official OERI position or policy NATIONAL ENDOWMENT FOR THE ARTS AMERICAN CANVAS c9((n/ Mvt/s/e-9,aci,j/ /Div cewtfearanitaruatosi WRITTEN BY GARY 0. LARSON NATIONAL ENDOWMENT FOR THE ARTS AMERICAN CANVAS TABLE OF CONTENTS Introduction by the Chairman 1. Improving the Climate for Culture P. 7 2. Transmitting Our Cultural Legacy r. 2 1 3. The Evolving Cultural Landscape r. 41 4. Americans and the Arts r. 59 5. Culture and Community P. 75 6. Arts and Education P. 91 7. The Arts and Telecommunications r. 113 8. Seeking New Solutions r. 127 9. The Challenge to Act r. 149 Calls to Action APPENDIX A: American Canvas Forums APPENDIX B: American Canvas National Committee & Steering Committee Acknowledgements INTR One of the joys of being Chairman of the National Endowment for the Arts is experiencing the vast and diverse array of art in America. When I came to the agency in October 1993, I began a canvass of the arts in communitiesnationwide, and I managed to visit all 50 states, taking the pulse of the arts everywhere. In city after city, the desire for a strong arts presence was manifested in new facilities or burgeoning ideas. The community could be as small as 3,000 or as large as several million; the desire was there, but often, the long-range planning was not. Let's build it, and they will come, and we will worry about tomorrow, tomorrow. This philosophy, coupled with a declining public commitment to funding the arts, was a recipe for disaster. Some communities did have an infrastructure for sustaining their arts, and while there was no one solution that seemed applicable to all, I felt that rather than reinvent the wheel, we needed to share our ideas and talk about a commitment as a nation to our ongoing arts legacy. More than 100 years ago, a citizens' movement dedicated itself to preserving and celebrating our natural resources. Out of this was born our national park sys- tem and the plethora of environmental groups that exists today. Now, at the endof the 20th century, when America's vision of the arts has had such a profound impact on the world, it seems right to commit to our cultural resources in the same way. 3 5 AMERICAN CANVAS In April 1994, we held "ART-21: Art Reaches into the 21st Century," the first national conference on the arts called by the Federal government. Over 1,000 people came to Chicago to discuss four issues that then loomed large in thenon- profit arts: The Artist and Society, Lifelong Learning in the Arts, Arts and Technology, and New Ideas for Federal Arts Funding. Those first stepswere inter- rupted to a degree by the budgetary cuts and restructuring theagency undertook in 1995-96, but the issues remain no less vital. The Endowment, and indeed the entire arts community, began to take a look at the ecology of the arts process, of nurturing the arts and preserving a legacy, and at different models for stabilization and survival. Arts service organizations, such as the National Assembly of State Arts Agencies and the National Assembly of Local Arts Agencies (now Americans for the Arts), the President's Committee on the Arts and Humanities, the American Assembly and a host of others considered the state of the arts in colloquies, confer- ences and a number of reports. In 1996, we decided to continue this national discussion by going into a number of communities and meeting not just with the arts leaders, but withrepre- sentatives of all aspects of civic and social life. The American Canvas, as this initia- tive came to be called, would be a great vehicle for sharing ideas and information on the issues vital to the nonprofit arts. At each of the American Canvas forums, the structure was designed to take a question for consideration, listento the responses of all the panelists, and then open it up to the audience. Each of the six privately-funded forums explored a different aspect of the successful integration of the arts into communities. The host citieswere chosen for their leadership in the development of innovative strategies for supporting thearts and using the arts to build strong communities. Each forum began with broad and general questions for the panels' consideration: COLUMBUS, OHIO 1. How can the arts promote civic responsibility and good citizenship? 2. What role do the arts play in community understanding and civic participation? 3.What role do the arts play in cultural heritage and citizen pride? 6 9).9. 4 Waktnatt;.s, pntzaducticov LOS ANGELES, CALIFORNIA 1. How can the arts build and maintain the viability of a communio,'s social in- frastructure?2.How do the arts build a positive legacy for children?3.Whatrole do the arts play in linking communities and building a solid social framework? 4.How do the arts help to ensure livable communities for tomorrow? SALT LAKE CITY, UTAH 1. How can the arts support education, children, families and communities? 2.How do the arts ensure student success and good schools? 3.In which ways do the arts strengthen family? 4 ROCK HILL, SOUTH CAROLINA CHARLOTTE, NORTH CAROLINA 1.What is the role of the arts in community economic development and growth? 2.How do the arts build communities?3.Whatis the Bottom Line? 4.The arts as a community economic resource5.How can responsibility be taken for America's arts legacy? 5 SAN ANTONIO, TEXAS 1. How can the arts improve the quality of life in America's communities? 2.Why do the arts enrich community lift?3.What advantages do the arts bring to community planning, design and development? 6 MIAMI, FLORIDA 1. How can the arts ensure equity and access to America's culture and heritage? 2.EquityHow do the arts provide opportunities for all citizens and bridge populations?3.AccessIn which ways are the arts available to all Citizens and How do the arts serve the needs of various ccnstituencies?4.Forms of ExpressionHow do the arts allow open and responsible exchanges of ideas? gh9. 5 7 AMERICAN CANVAS In January, 1997, the American Canvas Steering Committee met to review this dialogue and draft ten Calls to Action. These actions were endorsedon January 30, 1997 by the full American Canvas Committee, a group of national leaders from all sectors of public life. This committee has begun to search for specificways that their organizations and sectors can work together nationwide to assist communities in ensuring an arts legacy for future generations. A list of the participants and the Calls to Action are included in this book, and summaries of each of the Forums and the participants' responses to the Calls are featured on our World Wide Web site at http://arts.endow.gov under the "American Canvas" section. We see this site as a permanent home for the free exchange of information and ideas on how com- munities can take action to sustain the arts. This American Canvas report, however, is primarily an analysis and distil- lation of the major issues we face in the nonprofit arts. It raisesa number of red flags about the current state of the arts in America, and we conclude with challenges and opportunities for everyone in the arts to consider. The National Endowment for the Arts has undergone radical changes in the past four years, and I am certain that change is the only sure bet for the future.
Load more

Recommended publications
  • Andres Serrano – Natures Mortes Aus Blut, Schweiß Und Sperma
    HIV/AIds und Kunst Andres Serrano – Natures mortes aus Blut, Schweiß und Sperma Andres Serrano, geboren 1950 in New York als Sohn einer afro-kubanischen Mutter und eines honduranischen Vaters, wuchs in einem katholisch geprägten Umfeld auf. Bereits als Jugendlicher war er interessiert an Renaissance- Malerei und speziell religiöser Ikonographie. Bereits zu Anfang seiner künstlerischen Laufbahn konzentrierte er sich auf die Fotografie – beeinflusst von Bunuel und anderen Surrealisten, waren Kadaver und insbesondere Blut, Milch und Sperma zentrale Bildelemente seiner Fotografien. D i e pe radikaler Katholiken beschädigt wurde. 1985-90 Serrano selbst wies den Vorwurf der entstan- Blasphemie immer zurück – tatsächlich d e n e n kann man das Werk als moderne Inter- S e r i e n pretation des Kreuzwegs Christi, der „ B o d y Verspottung, sehen. Ob tiefgründig oder Fluids“ plakativ, sei dahingestellt. u n d Serrano scheut dabei auch nicht Ausflüge „Immer- in die Popkultur: Die Arbeiten „Blood sions“ – and Semen III“ und „Piss and Blood“ v o r dienten als Cover-Fotos für zwei Alben allem die der Metal-Band Metallica. Diese und Andres Serrano Fotogra- andere Titel stehen in einem scheinbar fie „Piss Christ“ von 1987 aus der letzte- widersprüchlichen Kontrast zu Serranos ren – wurden einer breiteren Öffentlich- Intention, der diese Fotografien als Andres Serrano: „Ku Klux Klan“, 1998, keit bekannt: Sie zeigt ein Plastik-Kruzi- monochrome Studien zu Licht und Farb- Cibachrome, 98,5 x 79 cm fix, das mit Urin bespritzt wird, und löste einen Skandal aus, der Serrano endgültig werten bezeichnete. So bezog sich z.B. einer breiten Öffentlichkeit bekannt die Arbeit „Milk Blood“ von 1984 explizit machte: Die republikanischen Senatoren auf die geometrischen Abstraktionen Jesse Helms und Alphonse D’Amato grif- Mondrians.
    [Show full text]
  • Nan Goldin and Andres Serrano's Post-Mortem Photography
    Visible Care: Nan Goldin and Andres Serrano’s Post-mortem Photography Lauren Jane Summersgill Humanities and Cultural Studies Birkbeck, University of London Submitted for the Degree of Doctor of Philosophy November 2014 2 Declaration I certify that this thesis is the result of my own investigations and, except for quotations, all of which have been clearly identified, was written entirely by me. Lauren J. Summersgill October 2014 3 Abstract This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s Cookie in Her Casket and Andres Serrano’s The Morgue, I argue that artists engaging in post- mortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse. Nan Goldin’s 1989 post-mortem portrait of her friend, Cookie in Her Casket, was first presented within The Cookie Portfolio. The memorial portfolio traced the friendship between Cookie and Goldin over fourteen years. The work relies on a personal narrative, framing the works within a familial gaze. I argue that Goldin creates the sense of family to encourage empathy in the viewer for Cookie’s loss. Further, Goldin’s generic and beautified post-mortem image of Cookie is a way of offering Cookie respect and dignity in death. Andres Serrano’s 1992 The Morgue is a series of large-scale cropped, and detailed photographs capturing indiscriminate bodies from within an unidentified morgue.
    [Show full text]
  • Download Download
    Vol 4, No 1 (2015) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2015.141 http://contemporaneity.pitt.edu Taboo Icons The Bodily Photography of Andres Serrano Tyler Shine Abstract Andres Serrano’s photography is often dismissed as being shocking for the sake of being shocking. His infamous photograph Piss Christ (1987) is the oft-cited example at the center of the National Endowment for the Arts controversies during the Culture Wars of the 1980s and 1990s. I return to Piss Christ as a way to expand the interpretative scope of Serrano’s early photographs, which I call “taboo icons” because of their ambiguity and ability to crisscross symbolic boundaries in the unstable space between sacred and profane, thus making his images both powerful and potentially dangerous. Building upon previous scholarship that draws connections between modern and early modern aesthetic practices, I look to the material practices of Christianity in medieval Europe characterized by a sophisticated visual culture that mixed both the physical and the spiritual. The intensifying rejection and reverence of matter resulted in divergent responses, yet the contradictory nature of matter remained central to the ideological beliefs of Christianity where the doctrines of Creation, Incarnation, and Resurrection are at its core. Serrano’s visceral photographs are emphatically material and can productively be read vis-à-vis medieval visual culture. In doing so, this reading changes the narrow perception of Serrano’s early photographs and provides an alternative understanding of his artistic project that reinserts religion into contemporary American art discourse. About the Author Tyler Shine is a recent graduate of the University of Maryland, College Park where he received his MA in Art History.
    [Show full text]
  • Andres Serrano: the Body Politic.” in Andres Serrano: Works 1983-1993
    “Andres Serrano: The Body Politic.” In Andres Serrano: Works 1983-1993. Philadelphia: Institute Contemporary Art, University of Pennsylvania, 1994; pp. 17-43. Text © Robert Hobbs Andres Serrano: The Body Politic ROBERT HOBBS In the early eighties, when Ronald Reagan's policy of deregulation was contributing to great social and econorn.ic inequities, Andres Serrano came to maturity as an artist. His work represents the politicization of the human body that, in the ensuing years, became the focus of debates on AIDS, drugs, abortion, and euthanasia. In his art, Serrano deals with bodily fluids in large Cibachromes that question the realistic claims made for photography; at the same time, they portray these feared substances with the seductive allure usually reserved for advertising. Thus, his work unites culturally constructed codes for desire with substances usually considered repugnant in Western culture. Marginalized by his African Cuban background, Serrano has made images of such outsider groups as the homeless and the Ku Klux Klan. This study will consider his development in the decade from 1983 to 1992, when he completed his Morgue series. Although an artist's work extends beyond personal aims, and represents far more than a mere sum of life's experiences, biographical considera­ tions still provide an excellent vantage point to understand Serrano's orientation to the world. After briefly reviewing his childhood and continued connections to the Catholic Church, this essay will undertake an analysis of his work as it relates to the artistic, social, and political debates that inform it. "I am drawn to subjects that border on the unacceptable," Andres Serrano said in 1993, "because I lived an unacceptable life for so long."1 This "unacceptable life" apparently began soon after his birth, in 1950, when he was abandoned by his father, a merchant marine who had three other families living in his native Honduras.
    [Show full text]
  • Oral History Interview with Andres Serrano, 2009 July 29-30
    Oral history interview with Andres Serrano, 2009 July 29-30 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Andres Serrano on July 29-30, 2009. The interview took place in New York, N.Y., and was conducted by Frank H. Goodyear for the Archives of American Art, Smithsonian Institution. This interview is part of the Oral History Interviews of American Photographers. Andres Serrano has reviewed the transcript. His corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview FRANK H. GOODYEAR: This is Frank Goodyear interviewing Andres Serrano in the artist’s home in New York City on July 29, 2009, for the Archives of American Art, Smithsonian Institution, Disc No. 1. First of all, do you have any sort of questions about this? ANDRES: SERRANO: I have one question. Is the mike too far? Because I could bring an extension cord if we want it closer? MR. GOODYEAR: Talk again. MR. SERRANO: Is the mike too far? Because I can bring an extension cord if we want it closer. MR. GOODYEAR: It’s good. MR. SERRANO: Great. MR. GOODYEAR: It’s cool. Some of the questions are kind of, what can I say? Just kind of factual information about your biography some hard—we’re just sometimes collecting just details about your life.
    [Show full text]
  • Art Since 1945 Prof. Bridget Gilman [email protected] Tues/Thurs
    Fall 2016 Art History 559: Art Since 1945 James Luna, Artifact Piece, 1987. Performance. San Diego Museum of Man. Prof. Bridget Gilman [email protected] Tues/Thurs – 2 – 3:15 pm, Art North 412 Office Hours: Tues 12 – 1 pm, Thurs 10 am -11 am, and by appointment, Art South 557 Description This course will explore a range of artworks from 1945 to the present, considering both aesthetic innovations and their social, economic, and political context. Topics will cover diverse locations, artistic media, and historical events, from the postwar rise of American Abstract Expressionism to contemporary debates on global migration. Case studies will range from government- sponsored monuments to acts of protest. Widely-recognized movements will be paired with less canonical works, and particular attention will be paid to the roles of geography, class, gender, sexuality, and race in production and reception. The course will also introduce a range of interpretive lenses, familiarizing students with art history’s central debates and providing multiple methods for understanding contemporary art. Objectives The course will provide students with an expansive understanding of art produced after 1945. Students will not only be able to identify movements, artworks, and artists, but also to understand their historical context and interpretations. In-class interactive activities, readings, written responses, discussions, and exams will hone visual and textual analysis skills, allowing greater insight into the art of the recent past. Prerequisites Students enrolling in this course are required to have taken Art History 259, Introduction to Art History II. You are strongly advised not to take this class until you have the prerequisite.
    [Show full text]
  • BJ Blurbs 4.18.In Order.Pdf
    Marina PINSKY: (projected 18th / 19 votes) 303 Gallery February 22 – March 31, 2018 http://www.303gallery.com/gallery-exhibitions/marina-pinsky/press-release 303 Gallery is pleased to present our first exhibition of new works by Marina Pinsky. The Moscow-born, Berlin and Brussels-based artist examines the modes in which we read images as material, spatial, and ideological models of the world. Moving between photographic and sculptural works, Pinsky utilizes oblique symbols to invoke potent invisible histories. Comprised of analog black-and-white photographs and a constellation of newly developed sculptures, the exhibition proposes a consideration of the origins of New York in its pre-urban settlement. An interpretive sculptural model of the Wyckoff House is hand-made in unglazed ceramic. This house, the oldest in New York, was built in 1638 and occupied by Pieter Wyckoff. It is located in what is now the Canarsie area of Brooklyn, situated on land that the Dutch West India Company purchased from the local Lenape tribe to form part of the New Nederland colony in 1636. Pinsky’s model is pulled together with ratchet straps so that the structure becomes a whole only by the force of tension, creating a type of physicality borne of allegory. The exhibition's photographs are drawings of pine trees, taken from early American colonial flags first appearing in the 1600s in New England. These small images are created without negatives using direct positive black-and- white paper, and appear as mirror images of the traditional analog enlargements facing them. Besides its colonial origin, this pine tree insignia was adopted in 1913 as the symbol of the New York Armory Show.
    [Show full text]
  • Andres Serrano Biography
    ANDRES SERRANO BIOGRAPHY BORN 1950, New York, NY SELECTED SOLO EXHIBITIONS 2014 Andres Serrano: Cuba; Galleria Giacomo Guidi; Rome, Italy 2013 Andres Serrano: Cuba; Yvon Lambert; Paris, France 2012 Andres Serrano: Anarchy; Edward Tyler Nahem; New York, NY Andres Serrano: Sacred Shadows; Galerie Nathalie Obadia; Brussels, Belgium 2011 Andres Serrano: Holy Works; Galleria Pack; Milan, Italy 2010 Andres Serrano; Flying Circus Gallery; San Pedro Garza Garcia, Mexico Andres Serrano: Church; Maruani & Noirhomme; Knokke-Heist, Belgium 2009 Andres Serrano: The Unbearable Lightness of Being ; Yvon Lambert; London, England Andres Serrano; Ilan Engel Gallery; Paris, France 2008 Andres Serrano: Shit; Yvon Lambert; New York, NY Andres Serrano: Shit; Yvon Lambert; Paris, France 2007 Andres Serrano: A History of Sex; Kulturen; Lund, Sweden Andres Serrano: The Morgue Part 2; Yvon Lambert; Paris, France Andres Serrano: El dit a la nafra; Centre Cultural Metropolita; L’Hospitalet, Spain Andres Serrano: Les Societaires de la Comedie Francaise; Collection Lambert en Avignon; Avignon, France 2006 Andres Serrano: En las Fronteras; Villa Croce Museo d’Arte Contemporanea; Genova, Italy Andres Serrano: Photographie sehen...; Nusser & Baumgart Contemporary; Munich, Germany Andres Serrano: Selected Works; Walter Otero Gallery; San Juan, Puerto Rico Andres Serrano; ARTIUM; Vitoria-Gasteiz, Spain Andres Serrano; PAC; Milan, Italy Andres Serrano: La Part Maudite; Collection Lambert en Avignon; Avignon, France Andres Serrano: Baroque; Gimpel Fils; London, England
    [Show full text]
  • Content Restrictions and National Endowment for the Arts Funding: an Analysis from the Artist's Perspective
    William & Mary Bill of Rights Journal Volume 2 (1993) Issue 1 Article 7 May 1993 Content Restrictions and National Endowment for the Arts Funding: An Analysis from the Artist's Perspective Courtney Randolph Nea Follow this and additional works at: https://scholarship.law.wm.edu/wmborj Part of the Constitutional Law Commons Repository Citation Courtney Randolph Nea, Content Restrictions and National Endowment for the Arts Funding: An Analysis from the Artist's Perspective, 2 Wm. & Mary Bill Rts. J. 165 (1993), https://scholarship.law.wm.edu/wmborj/vol2/iss1/7 Copyright c 1993 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmborj CONTENT RESTRICTIONS AND NATIONAL ENDOWMENT FOR THE ARTS FUNDING: AN ANALYSIS FROM THE ARTIST'S PERSPECTIVE by Courtney Randolph Nea* Visual art occupies a precarious position in the spectrum of artistic endeavors. In recent years, there has been less censorship of the arts than of books, plays, or recordings, but visual art has often been a source of public ridicule and debate. The primary issues in this conflict are: "What kind of art is appropriate?"; "Who decides?"; and even "What is art?"' Implicit in this dialectic is the tension between artistic freedom and the boundaries of the First Amendment. Throughout the history of art, artists have challenged traditional customs and conventions. Artists have pushed the boundaries of accepted norms in their pursuit of personal expression. "Artists are significant symbolic deviants in our society, their work calling out negative responses from large numbers of people.
    [Show full text]
  • Only Skin Deep: Changing Vision of American Self
    Bibliography for Only Skin Deep: Changing Vision of American Self Available in SAM 4th Floor Resource Room Books 1. Allen, Judy, Earldene McNeill and Velma Schmidt. Cultural Awareness for Children. (New York: Addison-Wesley, 1992). 2. Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art. (Cambridge, MA: Harvard University Press, 1988). 3. Fanon, Frantz. Black Skin, White Masks. (Grove Press, 1991) 4. Fanon, Frantz. Wretched of the Earth. (Grove Press, 1986). 5. Fusco, Coco. English is Broken Here: Notes on Cultural Fusion in the Americas. (New York: New Press, 1995). 6. Gamboa, Harry. Urban Exile: Collected Writings of Harry Gamboa Jr. (Minneapolis: University of Minnesota Press, 1998). 7. Gaskins, Pearl Fuyo. What Are You? Voices of Mixed-Race Young People. (New York: Henry Holt and Co., 1999). 8. Jelloun, Tahar Ben. Racism Explained to My Daughter. (New York: New Press, 1999). 9. Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. (New York: New Press, 1990). 10. Kissinger, Katie. All the Colors We Are/ Todos Los Colores de Nuestra Piel. (St. Paul, MN: Redleaf Press, 1994). 11. Noriega, Chon A. and Ana Lopez. The Ethnic Eye: Latino Media Arts. (Minneapolis: University of Minnesota Press, 1996). 12. Peraza, Nilda, Marcia Tucker and Kinasha Holman Conwill, eds. The Decade Show: Frameworks of Identity in the 1980s. (New York: Museum of Contemporary Hispanic Art, 1990). Articles and Essays – Available in binder 1. Clark, Bethany. “Eye2Eye: Only Skin Deep” at www.Sugarzine.com online magazine (February 2004). 2. Corcoran, Katherine. “Race only skin deep: S.J. students discover genetic link” in The Mercury News (February 9, 2004).
    [Show full text]
  • The Museum of Scandals
    ARt thAt shockeD The the woRlD MuseuM of scandals Éléa Baucheron Diane Routex Front cover: Maurizio cattelan, La Nona Ora, see p. 40 © 2013 olo.éditions, Paris © for the english edition: Prestel Verlag, Munich · london · New York, 2013 credits on page 176 library of congress control Number: 2013936555; British library cataloguing-in-Publication Data: a catalogue record for this book is available from the British library; Deutsche Nationalbibliothek holds a record of this publication in the Deutsche Nationalbibliografie; detailed bibliographical data can be found under: http://dnb.d-nb.de Prestel books are available worldwide. Please contact your nearest bookseller or one of the above addresses for information concerning your local distributor. Prestel Verlag, Munich A member of Verlagsgruppe Random house Gmbh Prestel Verlag Prestel Publishing ltd. Prestel Publishing Neumarkter strasse 28 14-17 wells street 900 Broadway, suite 603 81673 Munich london w1t 3PD New York, NY 10003 tel. +49 (0)89 4136-0 tel. +44 (0)20 7323-5004 tel. +1 (212) 995-2720 Fax +49 (0)89 4136-2335 Fax +44 (0)20 7636-8004 Fax +1 (212) 995-2733 www.prestel.com Authors: Éléa Baucheron and Diane Routex editorial direction of the French edition: Nicolas Marçais Artistic direction: Philippe Marchand editorial support: Énaïde Xetuor-Docin layout: Prestel Verlag, based on the design of Marion Alfano copyediting of the French edition: Aurélie Gaillot editorial direction: claudia stäuble, Dorothea Bethke translation from French: Fabia claris, Robert McInnes copyediting: chris
    [Show full text]
  • Lowbrow Art : the Unlikely Defender of Art History's Tradition Joseph R
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2013 Lowbrow art : the unlikely defender of art history's tradition Joseph R. Givens Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Givens, Joseph R., "Lowbrow art : the unlikely defender of art history's tradition" (2013). LSU Master's Theses. 654. https://digitalcommons.lsu.edu/gradschool_theses/654 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. LOWBROW ART: THE UNLIKELY DEFENDER OF ART HISTORY’S TRADITION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Joseph R. Givens M.S., Arkansas State University, 2005 May 2013 I dedicate this work to my late twin brother Joshua Givens. Our shared love of comics, creative endeavors, and mischievous hijinks certainly influenced my love of Lowbrow Art. ii ACKNOWLEDGEMENTS I would like to thank Professor Darius Spieth. Without his open mind and intellectual guidance, a thesis on this marginalized movement would not have been possible. I want to express my gratitude to Robert and Suzanne Williams who have patiently answered all of my inquiries without hesitation.
    [Show full text]